
IW TO MAKE THEM. 



EXPLAINED AND ILLUSTRATED BY 



Samuel Booth &. Co., riuters aiid Engravtrs, 201 Ceuiie btreet. New Voik. 




Class ^:3 

Book ^ ^ V^ 



r 



Entered according to Act of Congress, in the year 1888, by John LeClair, in the Office of the 
Librarian of Congress, at Washington, D. C. 



OTl 



SHADOWGRAPHS 



HOME AMUSEMENT FOR OHILDEEN AND THE FAMILY 
CIRCLE GENERALLY. 



The wise parent should always encourage indoor amusements 
for the children — not that outdoor exercises should be discour- 
aged; but that the child may learn to love, esteem and revere 
its household remembrances in after life above all others. How 
many of mankind's most promising buds have been nipped in 
their early blossoming by their parents' indifference in this res- 
pect none can tell — though if the facts could be statistically cal- 
culated we do not hesitate to state our belief that the majority 
of the youth wrecked in early life might be able to trace the first 
stages of their ultimate downfall to this cause. 

Children need recreation more than adults, for their youthful 
proclivity is to seek ever that which is novel. The older minds 
on the contrary, as a general rule, deprecate everything tending to 
juvenility — to the evident detriment of the home circle. 

How can I keep my child at home ? How can I best manage 
to inculcate a feeling of love in the mind of my offspring for its 
habitation ? are questions that have ever puzzled the thoughtful 
parent. The doll, the miniature kitchen, the various games of 
cards, and innumerable other ingenious devices to the same pur- 
pose have all furnished their quota to this end, and still the 
youthful minds clamor for more. Again, if the attractions bear 
a too close similarity one to the other the child soon tires of them, 
and the father or mother not infrequently blames the poor child 
for its non-appreciation of the good things provided by its 
thoughtful parent. 

Long before the countless and almost inconceivable varieties of 
household entertainments of the present generation had even been 



HAND SHADOWS, OR SHADOWGRAPHS. 



thought of, it was customary for the family circles of ancient days 
to be amused evenings by Shadows of various devices cast upon the 
wall by means of characters cut with a knife or scissors upon a piece 
of cardboard or paper previously folded into peculiar shopes. An- 
other and more popular and fascinating entertainment was the cast- 
ing of Shadows (imitative of men, birds, animals, etc.) upon the 
wall, simply by a dexteious commingling of the fingers and 
thumbs of both hands, accompanied by surprising contortions 
of the hand and arm muscles. Some of the most marvelous 
combinations formed by this method, which are alike capable of 
being shown in the pailor, the kitchen, or wherever there is a 
strong enough light, will be found accurately described and illus- 
trated on the succeeding pages. The young student, with the ex- 
ercise of a small aujouiit of patience and ingenuity, can readily 
master them. 



REMARKS, \ 

In explaining the positions of the hands and lingers, I shall say 
Right and Lejt Hand Thumb, First, Second, Tltird and Fourth 
Fingers, as my obj»^ct is to explain the mode of making the 
Shadows in as concise and simple a manner as possible. 

It is desirable, at times, to turn the hands to the right or left, 
to get a good and well defined outline. 

If you wish to make your Shadows on the wall, a smooth, white 
surface is required — such as a white- washed one. If your room 
is papered with a colored pattern, then a large sheet of white pa- 
per, tacked on the wall will answer every purpose. A great 
deal of amusement may be afforded your opposite neighbors if you 
happen to have a white blind in your window. 

Let your light be exactly opposite and on a line with the centre \ 
of the screen, or whatever you use for a substitute. 

f 



HAND SHADOWS, OR SHADOWGRAPHS. 




Necessary arrangement of Hands, Fingers and Thumbs to make the Shadows 
Illustrated in following pages. 



5 f f/T 





6 nn. 




Diagram illustrating; the position of Performer and distance between the Light 

and the Screen. 



HAND SHADOWS, OR SHADOWGRAPHS. 



INSTRDCTIONS FOR MAKING THE VARIOUS FIGURES. 



THE DUCK. 

Place the surface of the two thumbs together — that will bring 
the back of the right hand in the palm of the left ; let the sec- 
ond finger of each hand overlap the third a little ; then, turning 
the back of the hands towards the screen or wall, you have the 
shadow of the duck. By opening and closing the hands, just a 
little, will give the impression of the duck flying. 



THE ELEPHANT. 

Extend the left hand in front of you the four fingers closely 
pressed together pointing downwards, the thumb pointing straight 
out ; place the tips of the four fingers of the right hand on the 
knuckle-joints of the left, the thumb laying on the back of the 
left hand ; raise the four fingers of the left hand to a horizontal 
position, and let them gradually fall and curl up into the palm, 
— that will give the motion of the elephant's trunk, as if con- 
veying food to the mouth. 



THE CAT. 

For this Figure, a towel or tablecloth is required. Lay it over 
the right arm, from the wrist to the shoulder ; then, with the 
left hand, gather in tightly the hanging folds of the cloth, bringing 
up the right arm straight from the elbow, the palm of the hand 
facing the screen ; close the four fingers tightly, the thumb point- 
ing straight up and the little finger projecting a bit above the 
others ; the left, grasping the loose folds of the cloth, you keep 
at the tip of the right elbow, the first finger pointing down. By 
bending the wrist of the right forward will give the figure the 
motion of cleaning itself. 



HAND SHADOWS, OR SHADOWGRAPHS. 



THE SW^AN. 

Sit in a chair, the left side of the face towards the screen ; throw 
back the head so that it will not be seen ; bend the right arm 
from the elbow, close the thumb, first and second fingers tight, 
extend the third and fourth fingers straight out, pointing directly 
from you ; bring the wrist of the left resting on the inside part of 
the muscle of the right arm, which will bring the back of the left 
hand facing the screen, the fingers close together and pointing 
towards the right shoulder. By bending the wrist of the right 
forward and backward, side to side, will give the Swan the ap- 
pearance of arranging its feathers. 



THE DOG. 

First Position. — Stand ^ith your side to the screen, extend 
both hands forward, open fingers of hands together, close and 
extend, place the palm of the right hand along the first finger 
of the left, bringing the thumb of the left tightly between the 
thumb and first finger of the right, the back of both hands in- 
clining downwards. By raising the fingers of the right hand and 
lowering the left hand, will give the motion of the dog opening 
and closing his mouth. 

Second Position. — By raising and lowering the fingers of the 
right and left hands, quickly, it will give the motion of the dog 
eating. For the finale, raise the fingers of the right and lower 
those of the left and you have the dog with its mouth wide open; 
then raise the first finger of the left hand, and you have the tongue 
protruding. 



THE RABBIT. 

Link the fourth fingers of both hands, turn them back to back, 
left uppermost ; link the first finger to the tip of the thumb of 
the left, resting on the tip of the first finger of the right hand ; 
elbows close to the body, thumb and second and third fingers of 
the right pointing down, second and third fingers of the left 
pointing up. By moving the second and third fingers of the 
right and left, will give the shadow a life-like appearance. 



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HAND SHADOWS, OR SHADOWGRAPHS. 



THE NIGGER. 

Of all shadows, that of faces are the easiest made, by a com- 
bination of movements of the first joints of the first, second, third 
and fourth fingers of the left hand. All kinds of expressions can 
be put on the shadows — laughing, crying, etc., opening and clos- 
ing the mouth, puffing at the pipe, extending or drawing in the 
nose, and a hundred different contortions of the face. To make 
this figure, close the left hand, the first finger partly so, allowing 
it to partly project beyond the others — this is the nose; the second 
and third projecting a little beyond the fourth. Place an old 
pipe between the second and third fingers, grasp the thumb 
tightly with the right hand, the thumb bent over the point of 
the left hand. Now project the second and third fingers, still re- 
taining the pipe, tightly held between the fingers; project the 
second and third fingers out and in — that will give the figure the 
expression of pulling or puffing away at his pipe. 



THE DUTCHMAN. 

To get the proper expression of this figure, a little alteration 
of the fingers is necessary. First place the little finger in a direct 
line over the fingers of the left hand, draw in a little the third 
finger and project the fourth of the left To get a good profile, 
it will always be found necessary to move the hands a little to 
the right or left. 



THE CLOWN. 

This figure is made almost the same as the Nigger — only draw 
in the third finger and project the fingers of the right hand over, 
same as shown in the cut. By different movements of the fingers 
of the left hand, you can get a lot of different expressions out of 
the figure — for instance the nose. Gradually open the first finger 
of the left hand until it projects straight out — here you have the 
Clown with a long pointed nose. Again, close the finger slowly 
and it will have the appearance of getting shorter, until it comes 
to its normal size. 



10 HAND SHADOWS, OR SHADOWGRAPHS. 



THE FISHERMAN. 

First Position. — For this Figure, cut out of cardboard an 
outline of a boat and hat, a round stick with ring attached to 
one end, so that it will fit over the thumb tightly ; a bit of paper 
or cloth, stretched between the light and screen, will cut off one- 
half and leave you a straight shadow across. Take the boat in 
your left hand, place your thumb through the ring, double up the 
fingers tightly and close, let the tip of the fourth finger project 
beyond the other fingers, put the hat between the second and 
third fingers of the right hand. Now let the boat rest against 
the wrist of the right hand, bring the boat up to the shadow-line, 
so that only the boat and figure are seen ; work the thumb back- 
ward and forward, and gradually pass the boat along, as if in 
the act of rowing, until it passes out of the light. 

Second Position. — When out of the range of light, change 
the stick, or oar, for a fishing-rod. The rod is made the same 
way as the oar, only have a piece of string attached with a 
cardboard fish on the end. Then appear fishing. Bend the hand 
forward, and make any attitudes you wish with the figure. 

Third Position.— E^ndi the hand over the bow of the boat, 
which will make the figure appear as if looking into the water 
for the fish, — such as shaking the head backward and forward, 
raising and lowering of the fishing-rod, suddenly put the figure 
forward and jerk up the line and expose the fish attached; shake 
the head quickly, giving the figure the expression of laughing — 
as if in high glee over his luck. A great amount of amusement 
can be got out of this figure. 



12 HAND SHADOWS, OR SHADOWGRAPHS. 



PARSON AND PULPIT. 

This Figure is also very amusing. All that is required for this 
is an outline of a college-cap with tassel cut out of cardboard. 
Rest on a chair, with side of the face towards screen ; half close 
the left hand with the fingers pointing in a direct line from the 
knuckles, bringing the thumb closely against the first finger ; let 
the cuff of your coat sleeve project in the same direction as the 
fingers, — there you have the Pulpit. Close tightly the fingers of 
the right hand (same as directed for the Fisherman), place the 
cap between the second and third fingers. First exhibit the Pul- 
pit, then let the Preacher approach towards the pulpit, disap- 
pearing and raising in the pulpit ; bend the hand forward and 
bring the thumb up, as if in the act of praying ; then proceed to 
make motions with the thumb, etc., gesticulating, etc., — and 
there you have a very laughable subject. 



SHADOW PANTOMIME. 

What is most required for this subject is a House. By taking 
a large sheet of cardboard, and cutting out the outline of a house 
(same as shown in the cut), and placing it between the light and 
screen, so that you get a clear, sharp shadow, which you will ob- 
tain by placing the profile nearer or farther from the light; next 
sit on a chair, facing the screen so that you don't throw any 
shadow of your own head on the screen. The first figure to ap- 
approach is the Lady. This is done by the right hand (same as 
for the Fisherman and Parson,) only place a woman's hat be- 
tween the second and third fingers; approach very slowly, enter 
the house. The next figure is the Masher. Change the lady's 
hat for a gentleman's derby; knock at door with thumb, and the 
lady will appear on the balcony. This is done with the left 
hand (same as right for Fisherman, Parson, etc ) Make motions 
as if talking with each other. The lady disappears from the bal- 
cony and comes to front door and invites masher in; lady enters, 
followed by the masher. Enter Dude, tall hat, approaches door. 



■ — ~-... -l^.-J.. ■ 



14 HAND SHADOWS, OR SHADOWGRAPHS. 



knocks. Masher appears at window or balcony, leans over and 
knocks off hat of the dude; disappears and comes to door and 
confronts the dude ; gesticulate, as if both very angry, and finally 
end up with a fight and exit. Enter Policeman, knocks at door, 
lady appears, pantomime business between them, lady exit?, po- 
liceman closes up nearer to door and appears with bottle. — [This 
is made on same princijde as the fisbing-pole of Fisherman, only 
cut out of cardboard.] The policeman drinks out of bottle, then 
hands it back, and the lady appears again, they pantomime and 
kiss. — -[This is done by proj^^cting the fingers of each hand to- 
wards each other until they meet.] After kissing, exit police- 
man and lady. Enter Dutch musician playing clarionette, (clari- 
onette made on same principle as before described), play under 
balcony; the old man appears on same with Lightcap and candle, 
(see cut), pantomimes to go away, Dutchman continues to play. 
Exit old man, reappearing with sweeping-brush or broom, (made 
as before described), leans over balcony and belabors musician — 
no heed taken of it. Exit, returning with water-jug he proceeds 
to pour contents over the unfortunate Dutch musician. — Finale. 



Sawdust or sand, previously put into the jug, will give a good 
imitation of water. 



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